I don't have what German directors call 'a concept' - a solid, fixed sense of the pattern that you should impose on the given work. I always get the feeling that I am raking up the earth rather than laying down the concrete.
Sentiment: NEGATIVE
Since 'concepts' are closely bound up with language, concept art is a kind of art of which the material is language.
We coin concepts and we use them to analyse and explain nature and society. But we seem to forget, midway, that these concepts are our own constructs and start equating them with reality.
Right now it's only a notion, but I think I can get the money to make it into a concept, and later turn it into an idea.
You work on an idea, your first interpretation is very raw and you work it and you work it and it gets polished and polished. It gets to a certain level and then it comes down off that peak.
A concept is stronger than a fact.
I begin with an idea and then it becomes something else.
When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain.
The idea is to be unrestrained by categories.
A lot of my creative energy is spent coming up with a concept that, once I get it, I feel like it writes itself.
We call those works of art concrete that came into being on the basis of their inherent resources and rules - without external borrowing from natural phenomena, without transforming those phenomena, in other words: not by abstraction.